Yesterday, we wrote a story about Jason Schupbach taking over as the NEA’s Design Director. Today, we decided to post that story to Twitter and to look up Schupbach so we could include him in the tweet. What we found were two Twitter accounts, @CreateMA and @thecheesefreak. As it turns out, in addition to being a fan of design and grant writing, Schupbach loves cheese, or so we gleaned from the site, the CheeseFreak, the latter handle directed us to. There, an often giddy Schupbach has posted 24 episodes of his cheesy vlog since September along with very detailed posts about the cheeses and experiences surrounding them. That’s an average of more than three a month, kind of putting us to shame. If he brings even half this much enthusiasm to the NEA, we’re all in luck. And to learn more about all the great work he’s done in the recent past, here‘s a profile from the Globe that we turned up on Google. Ah, the Internet. (Oh, and it goes without saying that if you’re not already following us on Twitter, please do so.)
MIT reached a settlement with Frank Gehry last month for what had been called a flawed, leaky design for his Ray and Maria Stata Center that led to a 2007 lawsuit, which also named construction manager Skanska as responsible. Blair Kamin revealed the news Tuesday on his Cityscapes blog, but he didn’t reveal much as the settlement remains private. Drawing on an MIT student newspaper story from March 19, Kamin notes,
“MIT retained outside consultants to examine the construction for defects, and those consultants produced reports which are not publicly available.” The account does not say whether any money changed hands in the settlement. [...] In an email Tuesday, Gehry said no money was involved in the settlement. On March 30, the university’s news office issued a joint statement from MIT, Gehry’s firm (Gehry Partners) and Skanska saying that the lawsuit had been “amicably resolved.”
So there you have it. Legacy preserved.
Ever since Woodstock, music festivals have morphed into celebrations of eclectic hedonism and of course, all types of artistic expression. Indio, California’s Coachella, which starts tomorrow, is no exception. In addition to three days of music, the festival offers dozens of art installations. This year the most prominent, right at the festival’s entrance, is called Ascension, The Crane. It’s just that: a giant white crane made of modular aluminum tubes and a mesh fabric called Textilene. It measures 45-feet-tall with a 150-foot wingspan, and the big bird’s multi-colored LED lighting is powered by two adjacent photovoltaic stations that also serve as benches and canopies. The 35,000 pound crane, which was put together on site (all of its components fit into a single shipping container), was designed by Crimson Collective, a group of socially-oriented designers led by LA visionary Behn Samareh. The group works to “bridge the gap between art and architecture,” through interactive installations. Check out a fantastic video detailing the construction here. It should be noted that the crane is a symbol of grace, wisdom and peace. This explains why all origami seems to be crane-based, including, apparently, gargantuan origami. Read More
Copies of AN‘s newest edition should be arriving in offices across the Midwest this week. With the mix of news, opinion, gossip, commentary, products, and projects that makes The Architect’s Newspaper a must read, the Midwest edition seeks to enrich the conversation within and across disciplines and showcase the talent in the eight state region. It’s free for architects and architectural designers in Illionois, Indiana, Iowa, Kansas, Michigan, Minnesota, Missouri, Ohio, and Wisconsin, so subscribe today.
We look forward to getting to know our new readers, so spread the word. As always we welcome your tips, compliments, and, yes, your occasional gripes. Contact us at firstname.lastname@example.org.
So the iconic HOLLYWOOD sign was nearly turned into the backyard for a bunch of mansions, but fortunately the recession intervened—one of a surprising number of upsides to the downside, it seems. But that doesn’t mean those big white letters aren’t seeming a little tired, and so a Dutch designer has come up with a rather clever new use that Curbed tipped us off to: turn the sign into a giant hotel. As Christian Bay-Jorgensen explained it to the Daily News, “The ultimate goal would be to preserve an internationally recognized landmark while helping the city generate badly needed funding.” If that weren’t bad enough, our pal Alissa Walker points us to Jeffrey Inaba’s plan to uproot the individual letters, loaning them out to areas of town in need of cache. The design provocateur explains after the jump, plus images of both, uh, projects. Read More
I don’t know what y’all are doing on May 6 to 8, but if landscape design tickles your pickle then you might want to hightail it down to the Lone Star State. The Cultural Landscape Foundation has partnered with Preservation Dallas and Historic Fort Worth to bring us Landscapes For Living: Post War Years In Texas, a symposium on modern landscape architecture in Texas at the Dallas Museum of Fine Art. Read More
As the redevelopment of the massive Domino Sugar refinery on the WIlliamsburg waterfront continues to trudge through the city’s public review process, what remains of the once mighty sweetener plant continues to deteriorate—or improve, depending on your attitudes towards street art. Following on the footsteps of the busted windows some feared would cause water damage to the main refinery building, now warring graffiti crews have set up shop on the bin building. A concrete addition from the 1960s that will be demolished to make way for some of Rafael Viñoly’s 2,200 apartments, the bin building has now been bombed by no fewer than 5 graffiti writers. But it’s not all bad news for the development, as it won conditional approval from Borough President Marty Markowitz on Friday, though some of those conditions are pretty steep Read More
Turns out the vociferous opponents to a Beale Street station in San Francisco had it right. The California High Speed Rail Authority voted last week not to build an underground station at Beale Street to serve as the northern endpoint of the state’s future high-speed rail line. Instead, the bullet train will make its final stop in the Transbay Terminal that is already slated to be built in downtown San Francisco. Read More
Designed by the great Chicago architect and planner Daniel Burnham, this handsome if forlorn rail station may get a new life. Located in Richmond, Indiana, which is about halfway between Indianapolis and Columbus, Ohio, the old Pennsylvania Railroad Depot has been empty for over 30 years. According to the Richmond Palladium-Item, via archinect, owner Roger Richert recently bought the building for $75,000, but it is expected to take $1 million to stabilize. Richert is working with the Historic Landmarks Foundation of Indiana to identify tax credits and other funding options in hopes of turning the building into a conference center, restaurant, a music venue, or retail space. Though the much of the interior is gone, Richert said the shell is strong, a testimony to Burnham’s robust design.
555 Washington, the proposed 38-story neighbor to SF’s iconic Transamerica Pyramid, has ridden a troubled road on its way though the city approval process. It seems that uneven path will continue. The San Francisco Chronicle has reported that the planning department recently put a hold on a vote on the project’s environmental impact statement, claiming that the developer still owes the city $102,000 in uncollected fees. Needless to say, the doodoo has hit the fan. Is the planning department trying to chisel the developer to fill its budget gap? Or was it simply incompetent in collecting the fees in the first place? Will the developer refuse to pay unless their project receives the green light? Or will it go along obediently while the city chases its tail? Stay tuned…
Few things go together better than public radio and art museums—and not just for those ubiquitous canvas tote bags—and yet it was still a pleasant surprise to hear our dear friend and chief MoMA design curator Barry Bergdoll on one of our favorite shows, Marketplace, this evening. Bergdoll and his sonorous voice were on to discuss Rising Currents, the recently opened show we’ve followed very closely, including our latest feature. There was plenty of discussion about hard and soft infrastructure, the inherent optimism of a rather pessimistic venture, the value of oysterculture, and glocalism. And if that weren’t enough, today’s episode turns out to be a double feature, as there was also a piece looking at the potential (fiscal) downside of the Governor’s Island deal.